2018
Lukas Dhont’s directorial debut, Girl, is one of the year’s most irresponsible films, and could have a negative impact on younger trans viewers.
All the Devil’s Men is a montage of cheap jokes and even cheaper action sequences, offering nothing new to the espionage genre.
More so than the previous feature adaptation, Watership Down is a bold allegorical tale that is best kept from the eyes of younger viewers.
While not quite as offensive as Gotti, Speed Kills is just as disposable, with Travolta yet again starring in an incompetent and unimaginative feature.
Individually, scene to scene, Second Act has its highlights. But as a whole, the film simultaneously works and doesn’t work – the epitome of a mixed bag.
Anchored by a strong performance from Hermione Corfield, Rust Creek is a deceptively layered thriller that touches upon the horror in being a woman.
The Merry Wives of Windsor can be enjoyed by all whether you are versed or have no knowledge of the works of Shakespeare.
As a narrative dive into the complexities of grief, State Like Sleep grazes the surface but doesn’t commit.
Carried by the weight of Willem Dafoe’s performance, At Eternity’s Gate is not a bad film, but it is not an outstanding one either.
“A Midwinter’s Tale” was a solid episode, packed with holiday cheer, ill-willed entities, and potential demonic tragedies, making it one of the best in the series thus far.
Mary Queen of Scots has no shortage of talent in front of the camera to make it one of this year’s most overlooked but satisfactory films.
There are successful films buried within Bird Box, but it refuses to build any identity as a film beyond its concept.
Mowgli: King of the Jungle doesn’t impart the sort of excitement you might hope from the newest entry, but it does have a resonance that many of its predecessors didn’t.
To call it a complete misfire would be unfair, but The Harrowing promises such supernatural offerings only to deliver a bland, soft-focus thriller with none of the scares.
The Mule is a worthy callback to Clint Eastwood’s career, playing a 90-year-old drug mule that hopes to make up for his past shortcomings.
